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Tag: FILMART

  • Bharat Pavilion makes debut at Hong Kong Filmart

    Bharat Pavilion makes debut at Hong Kong Filmart

    MUMBAI: India’s film industry has gone global, with the Bharat Pavilion at Hong Kong’s International Film & TV Market (Filmart, 17-20 March) being unveiled a couple of days ago. The pavilion, inaugurated by Hong Kong & Macau’s consul general of India, Satwant Khanalia, marked a milestone moment in India’s cinematic outreach. Filmart concludes today in Hongkong.

    Spearheaded by the Services Export Promotion Council (SEPC) and the National Film Development Corporation (NFDC) under the Ministry of Information and Broadcasting, the initiative was a power play to boost Indian cinema’s global footprint. Backed by the consulate general of India, Hong Kong & Macau, the pavilion was positioned as a launchpad for cross-border partnerships, international co-productions and market expansion.

    “India’s film industry is one of the world’s largest, telling stories that transcend borders. The Bharat Pavilion is a new chapter in global collaborations, unlocking fresh opportunities for Indian cinema,” said Khanalia.

    NFDC also spotlighted Waves – The World Audio Visual and Entertainment Summit, set to hit Mumbai from 1-4 May 2025. Billed as a premier content hub, the event will pull in industry titans, innovators and investors, pushing India as the epicentre of global content creation and trade.

    NFDC, a veteran in promoting Indian cinema at Cannes, Berlinale and Filmart, continues to drive co-productions, market expansion and distribution deals. The Bharat Pavilion was the latest jewel in its crown, offering Indian filmmakers a fast-track to international markets.

    The opening day saw a whirlwind of activity—networking frenzies, industry huddles, and high-stakes talks on co-productions and content sales. Indian producers, distributors and filmmakers seized the moment, pitching projects, shaking hands, and scouting fresh markets.

  • Kawamura’s filmmaking, from content and VFX perspective

    HONG KONG: The Digital Entertainment Summit 2017 was held on 15 March as part of the annual HKTDC Hong Kong International Film & TV Market (FILMART) organised by the Hong Kong Trade Development Council (HKTDC) at the Hong Kong Convention and Exhibition Centre from 13 to 16 March.

    The Summit invited industry leaders to discuss the latest developments under the overarching theme of “The Past and Future of Filmmaking, from Content and VFX Perspectives”. The conference opened with Japan’s innovative producer Genki Kawamura providing attendees with a fascinating insight into how he goes about choosing content for his films. The Summit then focused on visual effects (VFX), inviting three leaders in the field to offer their views on the industry.

    Philosophy behind movie-guru’s success

    Kawamura, producer of ground-breaking Japanese animated movie Your Name – a story about body-swapping, took part in a panel with producer Takafumi Yuki, DigiCon6 ASIA Headquarters International Alliance Officer & DigiCon6 Magazine Editorial Office Editor-in-Chief, and Aki Yamada, Festival Director of Digicon6 ASIA Headquarters.

    Internationally acclaimed Kawamura said when it comes to producing films he looks for some fundamental elements – visuals, music and story. “These are the most important elements of the movie and these are things I try to focus on when I produce my films,” said Kawamura. “I often use rock music in my films and sometimes it’s not even from Japanese music but foreign bands such as British group Radiohead.”

    Kawamura said he was inspired to make movies after watching Steven Spielberg’s ET: The Extra-Terrestrial when he was three years old. He said the three elements he described earlier were used effectively by Spielberg in that movie and were fundamental to the movie’s worldwide success.

    “I remember watching that movie and that scene when they fly across the moon on the bicycles, it was something I always remember,” said Kawamura. “I remember when I was three years old and I actually stood up. It was very inspiring.”

    Kawamura, despite his popularity overseas for movies such as Your Name, Confessions and Wolf Children, said he does not consider his audiences preferences when he comes up with ideas for his films. “I make movies that I like to watch,” he said. “I’m from Tokyo and I know what people from Tokyo want and what I want, so I try to produce movies to satisfy what I think is a good movie. I don’t really think about what the people may want.”

    Kawamura related the story of how he once lost his smartphone and it benefited him by allowing him to see the world. “I was on the train and I saw a rainbow and I looked around to see who else could see the rainbow but I was the only one because everyone else was looking at their phones,” said Kawamura. “I realised that sometimes you have to lose something to find something that is more beautiful.”

    Development of VFX

    The second part of the Summit turned to special effects with three executives from top Asian-based VFX companies joining moderator Eddie Leung, Senior Teaching Fellow at the City University of Hong Kong (School of Creative Media).

    The speakers were Zhou Yifu, Executive Director of Digital Domain; Daniel Son, Head of VFX Division for South Korean company Digitaidea; and Felix Xu, CEO of ILLUMINA Technology (Beijing) Co. Ltd. The panel discussed the status of VFX in Asia and the technological advances made by companies in the region, particularly in China.

    Son’s company is South Korean and he talked about his experiences working in China and the cultural differences between the two countries in terms of work practices. “Korea is between Japan and China but we don’t really have any collaborations with Japan,” said Son. “About half of our projects involve cooperation with China. There are cultural differences that result in Koreans and Chinese doing things differently.

    “For instance, China is more interested in fantasy and they are very creative with their ideas. China is more or less following Hollywood and they are quite well-advanced in their technology.”

    Xu agreed that Chinese VFX companies are technologically advanced and are continually working to improve the tools they use to create visual effects. However, he said the pressure to produce movies quickly and on low budgets means quality is sometimes lost. “The Chinese market is booming,” said Xu. “Many Hollywood and international companies are now paying attention to us. But in China, there are special situations. We only have a limited time to produce films so we may not pay that much attention to content.

    “Also, a large share of the investments are paid to actors, so we have to cope with that. On the plus side, the low budgets force us to conduct more R&D to cope with the challenges, make up the gaps, enhance efficiency and hasten the cycle.”

    Zhou’s company has offices in Los Angeles and Beijing and it is known around the world for the initial development of the NUKE compositing software. “We have developed the NUKE software and now a lot of companies are using it,” said Zhou. “I agree that we must perform much R&D to develop our technology and we have been successful in doing that and it has resulted is Digital Domain winning academy awards.”

    The panel came to the conclusion that VFX companies in Asia are gradually catching up with Hollywood and Western production houses in terms of technological advancement and it was now a case of improving the quality of their content in order to produce films and shows that cater to global audience.

  • FILMART drew over 8,000 visitors, leaders discussed trends & cooperation

    HONG KONG: The 21st Hong Kong International Film & TV Market (FILMART), organised by the Hong Kong Trade Development Council (HKTDC), ended today. The four-day event is a premier trading platform for the Asia’s entertainment industry. This year’s fair attracted more than 8,000 visitors, up nine per cent from last year.

    Among the visitors who attended this year’s FILMART, participation from Asia rose significantly, with the Chinese mainland, Philippines and Cambodia recording double-digit growth.
     
    This year’s FILMART featured the latest productions of more than 800 exhibitors from 35 countries and regions. Chinese mainland and many overseas exhibitors also set up booths to promote their local entertainment productions, including the United States, the United Kingdom, Canada, the European Union, Korea, Japan, Singapore, the Philippines, India and Vietnam.

    An ideal trading platform featuring global buyers and latest productions

    FILMART has long been an important platform for local entertainment companies to release new productions and announce development strategies. This year’s FILMART featured more than 70 special events, including thematic seminars, press conferences and networking events. There were also some 40 world and international premieres. In addition to such film companies as Emperor Entertainment Group, Sun Entertainment Culture Ltd., Universe and Shaw Brothers announcing their latest projects, TVBI and Fantastic Television Ltd also unveiled the line-up of programmes.

    FILMART is an important promotional platform and one that has facilitated numerous successful collaborations. Asian film and TV productions were the focus among international buyers this year. The Thai delegation promoted “Content Thailand” at this year’s FILMART and concluded more than 10 deals with companies from the US and Korea during the four-day exhibition. The delegation was pleased with the results and is considering expanding their participation next year. Chinese mainland exhibitor Zhejiang Dream Stardom Film and TV Culture Co. Ltd. has been taking part in FILMART for many years. At this year’s show, the company successfully sold the first and second seasons of a Chinese TV series to a buyer from Southeast Asia. With so many business opportunities, a Dream Stardom representative said they would be returning to the fair next year.

    The Cambodia Film Commission also led a delegation of local entertainment companies to exhibit at FILMART. One of the companies, Kongchak Pictures, reached a deal with a Korean buyer for a film and also started negotiations with buyers from the US, Canada, Malaysia and Thailand.

    Leading producers share insights

    FILMART featured an extraordinary line-up of more than 70 speakers, including leading industry representatives from the film, digital entertainment, animation and other sectors to share their views and insights. A total of 12 seminars were organised or co-organised by HKTDC, attracting over 3,000 attendees.

    Documentaries were one of the focus areas of this year’s FILMART. The audience raised many questions during the seminar titled “Opportunity for Documentaries in Asia”. Ruby Yang, winner of the Academy Award for Documentary (Short Subject), shared her experience at the seminar. She said buyers tend to prefer productions about universal subjects.

    Also speaking at the seminar was Takahiro Hamano, Senior Producer (Content Development Center, Programming Department) of Japan’s NHK. He said pan-Asian collaboration projects are becoming common; and if the directors could capture promotion opportunities and present well-established stories, finding capital should not be too difficult.

    Jeong Joong Kim, Director of Acquisition and Chief Producer from Korea’s KBS, emphasised the importance of local perspectives. He said Korean audiences favour international stories with a Korean view point.

    Andrew Hevia, co-producer of the latest Academy Award winner for Best Picture Moonlight, also stressed the importance of identity. He said the success of Moonlight is its ability to tell a specific story for a specific audience, narrating the story in an unexpected but down-to-earth way and focusing on ideas.

    The Digital Entertainment Summit shed light on movie content and visual effects. Speakers pointed out that special effects companies in Asia are already quite advanced in the techniques that they use, and therefore should place more attention on enhancing content. At the Digital Entertainment Summit, Genki Kawamura, producer of Confessions and the hit anime Your Name, said that he joined the film industry because he was inspired by Steven Spielberg’s E.T. He said the film’s successful use of visual, audio and story-telling elements also inspired his own productions.

    Daniel Son, Head of VFX Division of Digitalidea, the post production company behind Korean productions Train To Busan and Goblin: The Lonely and Great God, said Chinese filmmakers are highly creative, and have a passion for fantastical works. They also possess advanced technical skills. Felix Xu, CEO, Illumina Technology said that low budgets motivated them to experiment with more technologies to cope with different challenges, enhance efficiency and reduce production time.

    The Hong Kong International Film and TV Market (FILMART) is a founding event of Entertainment Expo, Hong Kong, and is among one of the expo’s 10 events. Entering its 13th edition, the expo is running from 13 March to 25 April and is featuring 10 spectacular events, including three founding events and seven core events. The three founding events are: the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA); while the seven core events are: the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

  • FILMART: Internet aids nonlinear content delivery on multiple screens, maximises value

    HONG KONG: Content creators and producers have highlighted the opportunities the Internet is creating for Asia’s entertainment industry at a panel discussion during the HKTDC Hong Kong International Film and Television Market (FILMART), which ends today at the Hong Kong Convention and Exhibition Centre.

    A premier trading platform for the international entertainment industry, this year’s FILMART welcomes more than 800 exhibitors from 35 countries and regions. A series of thematic seminars led by global industry leaders are held during FILMART, including the 14 March session entitled “Is the Internet a Challenge or Opportunity for the Show Business?” While the expert panel urged the need for transformation and development in order to maximise the opportunities that the Internet presents in the longer term, most agreed there were short-term challenges that are affecting the profitability of film and television houses.

    The panel’s moderator Peter Lam, the Vice President of the Hong Kong Televisioners Association, said greater collaboration between stakeholders, a focus on outstanding content and a willingness to experiment would see a more prosperous future.

    “Even if, for the time being, they are not making a profit they would like to build and develop for the future,” he told the panel.

    To open the discussion, Gu Guoqing, the General Manager of China Film Promotion International Ltd, argued the Internet was another platform for filmmakers and that the ability to deliver nonlinear content presented the industry another vehicle to maximise value and deliver content to multiple screens.

    “I don’t see the Internet as such a threat,” Mr Gu said. “Viewers have gone from the cinema to online with 750 million paid subscriptions, online streaming and integrated content. In the Internet age I think that the line between virtual reality and film and television is blurring. The Internet is a factor for change. We can have immersive experiences.”

    The Chief Content Officer of iQIYI.com, Wang Xiaohui, touched on some of the ways that the Internet has changed the lifestyles and habits of viewers, noting that there were increasing opportunities to watch content, be it at home, on public transport or sharing content on social media. In order to capitalise on changing trends, the need for good content was increasingly important.

    “In the short-term, it’s quite challenging since we cannot make a profit, but in the long-term we can see the promise,” Mr Wang said. “But all in all, content is still the basic way to success. I think the film industry is prosperous but it should focus on good content. We should follow the trend to make our own unique content.”

    A discussion on the challenges prompted Akinori Kobayakawa, President, Kyushu Associations of Independent Entrepreneurs, to chart the short-term revival of the entertainment industry. An emphasis on collaboration and on engineering could create opportunities because the Internet was driven by people and was a human machine.

    “You need to create a strategy no matter the outcome,” he said. “The current situation can be described as chaos, so what we have to think about today is working against the old common sense. We cannot use the old common sense to adjust to the situation because what is happening with the Internet and the impact of the Internet is unpredictable.”

    Joe Suteestarpon, CEO, Mediaplex International, has played a significant role in developing a subscription video on demand service called DOONEE for the Thai market. In working with that country’s 22 traditional broadcasters, they had created a new space for the audience to enjoy high-quality content.

    “Everything is on demand and there is no exception for television,” he told the audience. “Right now the client is the one that is controlling the industry. People are still consuming the content but the format has changed. It’s a nonlinear world.”

    Szeto Kit, Director & CEO, Dim Sum TV said the Internet had revolutionised his business. He has found that consumers would pay for subscription content, an experience he had enjoyed in his own business. The Chinese mainland was an excellent test bed for a traditional broadcaster transforming into an Internet-based content provider.

    “The television industry is entering the Internet age and streaming is completely changing the traditional establishment,” he said. “China is an excellent example of what might happen next.”

  • FILMART: Quality localised OTT content crucial

    HONG KONG: With the rapid advances in technology, people can tune into their favourite OTT platforms on different kinds of electronic devices anytime and anywhere. OTT refers to over-the-top distribution of multimedia content via the Internet. For online entertainment companies, the challenge is how to revise their strategies to adapt to rapid developments and high demand for such content. At the thematic seminar held yesterday (14 March), “New Opportunities in the Explosive Growth of Online Entertainment” at the Hong Kong International Film and TV Market (FILMART), representatives of four renowned online entertainment companies discussed how to tap into the tremendous OTT platform market by producing and sourcing quality localized content.

    User pays model is key 

    iQIYI senior VP Yang Xianghua pinpointed the fast-growing audience for OTT platforms in the Chinese mainland over the past few years. “It is estimated that within this year or next year, the number of people who watch streaming videos using mobile phone networks will reach half of the country’s population. In view of this, iQIYI is actively working with our partners to produce high-quality full-length online films.” He mentioned that there are two revenue models in place at present; advertisement revenue and user fees. The number of videos that generated more than Rmb1 million in profit for the company surged from 35 in 2015 to 122 in 2016, which points to a huge online market. 

    Conference moderator Variety Asia Editor Patrick Frater raised the question of how to tackle the issue of many online entertainment companies running at a loss. In his response, Yang noted that iQIYI has invested a lot in purchasing and producing content. In order to attract audiences, a significant portion of the content is free in the early stages. However, he predicted that the platform will turn the deficit into profit, as the number of subscribers and page views increases and the pay-per-user model is established. “Young Chinese viewers are relatively affluent, so they are willing to pay for higher-quality content,” he added.

    Localised vision to meet demands 

    PCCW Media Limited assistant VP – Content Management – Digital Media Meg Lee summed up the current trend: “Korean content is king.” Therefore, ViuTV is closely following the Korean trends and actively sourcing quality Korean entertainment video content such as dramas and variety shows, which have attracted a large numbers of fans of Korean trends to follow the channel.

    Regarding producing and sourcing content that caters to the tastes of local audiences, Lee noted, “ViuTV has its own team in each country, as well as an independent team that is in charge of collecting audience data and analysis. We also work with different local companies so as to quickly grasp the demand of the local market.” She added that ViuTV has its own team of translators who translate related content into local languages in a timely fashion. “We can only stay at the forefront by seizing the opportunities from the fast-changing trends.”

    Diversified video content attracts 

    As audience tastes change quickly, companies need to constantly explore new initiatives and adjust their strategies, which results in high investment risks. LINE Company (Thailand) content business director Dan Zonmani stated that LINE TV partners with various brands in co-productions of new online content, which in turns lowers investment risks. LINE TV also offers diversified video content. “Besides local content, we also feature content from Japan and Korea while refining our existing content to cater to the local audience’s taste.” In addition, LINE TV features re-runs of dramas and live broadcasts in a multi-pronged approach to attract audiences.

    He added that in providing content that caters to Thailand’s market, it is essential for the company to understand and respect the local culture while taking risks. “For instance, at the passing of the King of Thailand, we purchased a three-hour film whose content revolves around songs that are written about the King of Thailand. Broadcasting such a lengthy film on LINE TV was a new attempt, and a worthy one.”

    Japanese VoD platforms bloom 

    Among various markets, Japan was one of the last to join the OTT platform revolution, since the country’s traditional entertainment culture remains strong and it is difficult for industry players to break into the Japanese market. Mytheater DD director (animation division and new business development) Nakase Keiko stated that there will be a gradual increase in the number of Japanese audiences who watch videos on OTT platforms on mobile devices, and the market of VOD services platforms is expected to reach US$1.3 billion in value.

    Despite the tremendous market potential, there are also various challenges for companies who wish to enter the market. For instance, while Netflix and Amazon produce original dramas for their VOD platforms in Japan, the companies face competition from traditional TV stations. Nakase believed the companies must differentiate their programmes from traditional TV content. For instance, greater emphasis may be placed on star casting to arouse audience’s interest.

    In conclusion, online entertainment companies must cater to the audience’s tastes, keep a firm grasp on market trends and provide quality, localized content to attract more viewers, in order to tap into this fast-changing and tremendous entertainment services market.

  • FILMART: Paul Chan & Leon Lai grace Ent. Expo ceremony

    HONG KONG: The opening ceremony of Entertainment Expo, Hong Kong this afternoon featured a high-profile cast of officiating guests, including: Paul Chan, Financial Secretary, Hong Kong Special Administrative Region (HKSAR) Government; Gregory So, Secretary for Commerce and Economic Development, HKSAR Government; Margaret Fong, Executive Director, HKTDC; Yang Zheng, Deputy Director-General, TV Drama Department, State Administration of Press, Publication, Radio, Film and Television of TV Drama Department ; Terry Lai, Chairman, HKTDC Entertainment Industry Advisory Committee; and Leon Lai, Hong Kong Entertainment Ambassador. 

    Also in attendance were representatives from the organisers and supporting organisations of the 10 events under the Entertainment Expo umbrella, including three founding events and seven core events. The Entertainment Expo continues through 25 April at venues across the city.

    The three founding events are: the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA); while the seven core events are: the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

  • FILMART kicks off, seven India exhibitors participating

    HONG KONG: The 21st edition of the Hong Kong International Film and TV Market (FILMART) commenced today for a four-day run at the Hong Kong Convention and Exhibition Centre. This year’s FILMART welcomes more than 800 exhibitors from 35 countries and regions.

    In addition to major film companies in Hong Kong, many overseas exhibitors have set up pavilions at FILMART to promote their local entertainment productions, including countries like United States, the United Kingdom, Canada, the European Union, Korea, Japan, Singapore, the Philippines, and Vietnam. India’s presence has gone up to include seven exhibitors this year with more than 120 visitors registered from India to attend.

    More than 330 exhibitors from 15 Belt and Road countries are also taking part in FILMART to tap global opportunities which include those from Russia, Ukraine, Kazakhstan, Poland, Indonesia, Cambodia, Turkey and Mongolia.

    Many Hong Kong film companies are returning to FILMART in this year’s edition, which include China 3D Digital Entertainment Ltd, Distribution Workshop, Edko Films, Emperor Entertainment Group, Media Asia, Mega-Vision Project Workshop Ltd, Mei Ah Entertainment Group, One Cool Pictures Ltd, Pegasus Entertainment and TVBI. Fantastic Television Limited. Digital Domain and Fox Networks Group are the first timers to promote their latest entertainment productions to global buyers.

    This year, FILMART sees the participation of over 220 exhibitors from the Chinese mainland, the largest number in the event’s history. Many cities and provinces, such as Beijing, Shanghai, Shandong, Sichuan, Guangdong and Hangzhou, are returning with regional pavilions, while governments of Ningbo and Fujian are joining the show for the first time.

    Various seminars are being held here including for documentaries and a number of screenings of award-winning documentaries will be held during the event for participants to gain a deeper understanding of the genre.

    Digital entertainment is another highlight of FILMART this year. The Hong Kong Animation & Digital Entertainment pavilion, sponsored by CreateHK, gathers more than 30 local digital entertainment companies featuring their services, including digital production and special effects, post production, mobile apps, smartphone games and multimedia design, such as 360-degree photography and virtual reality (VR) and two seminars related to digital production and special effects will be held

    Along with the three founding events the Hong Kong International Film and TV Market (FILMART), the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards Presentation Ceremony (HKFA)the HKA Filmart includes : the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit and TV World International Forum.

  • American digital companies make Asian gains at Hong Kong’s FILMART

    American digital companies make Asian gains at Hong Kong’s FILMART

    MUMBAI: US film and digital companies did brisk business at the recent Hong Kong International Film & TV Market (FILMART), signing several deals to take American content to the Chinese mainland and Asia.

     

    The Chinese film industry grew 27.5 per cent to finish 2013 on $3.5 billion, while cinema admissions surged to a new high of 610 million, up from 470 million. A total of 3,627 new screens were added in 2013, approximately 10 new screens per day.

     

    This year’s FILMART drew a record number of more than 7,100 buyers to the event, the largest of its kind in Asia. The four-day show ended 26 March, and gathered more than 780 exhibitors from over 30 countries and regions. It was organised by the Hong Kong Trade Development Council (HKTDC).

     

    Representing the US were nearly 50 exhibitors, including 26 organised by the US Independent Film & TV Alliance. On the sourcing side, the US Commercial Service brought 11 missions comprising over 200 buyers from across Asia to FILMART to do business with US exhibitors.

     

    “Each year I discover new clients and new opportunities at Hong Kong FILMART. This year, the buyers in the Philippines and Malaysia had a stronger presence than in years past. FILMART is not only useful for sales agent/distributor meetings. We were able to meet up with production partners from Singapore as well,” said US-based Fortitude Films vice president, international division Katie Irwin.

     

    Announcements from US companies started appearing on the eve of the annual fair. 21st Century Fox will invest in a Hong-Kong-themed mini-series called Guilty as Sin set to begin production shortly.

     

    Additionally, India’s JDR Films purchased Hollywood’s Arclight Film’s Jungle Nest, while Vietnam’s Galaxy Studios also acquired the title. US company Shoreline Entertainment clinched its first deal in Asia when it sold The Incident, an acclaimed science fiction thriller, to Japan’s Zazie Films on day-two of FILMART. US-based Film Financial Services signed a cooperation agreement with Citic Guoan, the movie unit of China conglomerate Citic Group, to produce a $40 million 3D fantasy called An’shu.

     

    FILMART is one of several international trade events that will be held in Hong Kong ahead of the 10 June Think Asia, Think Hong Kong (TATHK) promotional event in Chicago. A TATHK event will also be held in Toronto on 8 June.